Rodney Crowell has been a really remarkable creative roll lately, and his latest album, "Tarpaper Sky," released April 17 on New West Records, surely continues that streak of musical gems. Thursday night Crowell and his quartet performed more than half of that album as part of their 105 minute show at The Narrows Center for the Arts in Fall River.

But just as notable as Crowell's latest batch of heart-tugging songs is his reuniting with guitarist Steuart Smith, whose work enhanced and expanded the emotional impact of Crowell's music last night. Smith and Crowell had worked before in the 1980s, as the singer explained at one point, up to and including Crowell's 1988 "Diamonds and Dirt" album, which spawned five number one country hits. But of course Smith is in great demand, and in recent years, Crowell noted, he's been busy with another gig, having been recruited by The Eagles to fill one of their guitar chairs.

But with the Eagles on hiatus for the moment, Smith was able to be an integral part of the new album, and also this tour.At some points last night Smith used chords and his vibrato bar to make his guitar seem like pedal steel, or even a whole string section. At other junctures Smith's fat toned single note solos reminded us of Mark Knopfler for their superb use of space between notes, and the haunting, ringing purity of the notes. But in all instances Smith's work provided perfect accompaniment to Crowell's literate and evocative lyrics and vocals, seeming to echo the singer's thoughts and emotions even as he caressed the melodies into new realms of beauty.

Crowell's last few busy years have included writing his autobiographical "Chinaberry Sidewalks" book in 2011, collaborating with poet Mary Karr on "Kin: Songs by Mary Karr and Rodney Crowell in 2012 where a host of guest stars performed the autobiographical tunes written by the two, and last year's Grammy-winning duet album, "Yellow Moon," with Emmylou Harris.

The new album continues Crowell's mining his past for powerful songs, and Thursday's 20-song set included six of the eleven cuts from the new CD. The evening began with the rocking two-stp "Earthbound," his paean to striving beyond one's limits, with Crowell looking every bit the stylish hipster in a balck shirt with big, red Art Deco polka dots, and a jaunty black fedora. A slowed down version of "Glasgow Girl" allowed the band to lovingly wallow in that gorgeous melody.

But the idea that Smith was going to be a huge factor arrived early, as "Anything But Tame" veeered from contemplative verses to bust-out choruses, largely on the strength of Smith's fiery guitar. "It's Open Season On My Heart," a Crowell tune which was a big hit for Tim McGraw, became a wistful tearjerker with Smith's sublime vibrato work mimicking pedal steel.

Crowell, who is a superb storyteller and turns every concert into a warm evening with friends, explained the two-song combo of "Sex and Gasoline" and "She's a Moving Work of Art" had been inspired by his four daughters. The first tune, a rowdy rocker, reflected the way the contemporary culture throws so much temptation at them, and perhaps how some of them ended up bringing home "jerk" boyfriends, he noted, while the latter emphasized their finer points in his attempt to escape the girls' wrath.

There's a definite flavor of '60s rock in Crowell's work now and then, and the soaring rendiiton of "When Losers Rule the World" brought that home. After that the singer introduced a sequence of songs from the new album. Actually, "God I'm Missing You" appeared on the album with Mary Karr, but since the guest stars were allowed to choose their tunes, it had been done by Lucinda Williams on that record. While Lucinda's version was haunted and bleak, Crowell's take on Thursday night was warmer, as if he were actually speaking to the lost love, and again Smith's guitar tones enlarged the emotional impact.

"The Long Journey Home" was a gently rocking meditation on appreciating simpler things as life goes on, while "Fever on the Bayou" delivered its swamp-rocking theme with even more rockin' grit than on the new CD. "Jesus Talk to Mama," was another gleefully rocking tune, where the sinful protagonist is hoping some Divine Intervention can convince his mom he's doing better.

"Frankie Please" was probably the hardest rocking tune of the night, a glorious throwback to early Elvis-brand roots rock, with killer lines like "You tore through my life like a tornado looking for a trailer park." Those last two songs had opening act Shannon McNally, and JoAnne Gardner singing backup, as they do on the record. An easy loping stroll through a Crowell chestnut, "Jewel of the South" was a lovely interlude.

Crowell's 2001 "Houston Kid" album marked a creative resurgence for the songwriter, and was the first time he really explored his own history and people he'd known. Thursday a couple of songs from that period were the most stunning moments of the night. Specifically, the two songs imagine a pair of brothers from Crowell's East Houston neighborhood, one of whom was gay, went to the West Coast and came home, dying of HIV. Crowell sang "I Wish It Would Rain," that first brother's lament as he returned home to die, solo with his own quietly superb guitar work helping make it an indelible moment. The band returned for "Wandering Boy," where the other, straight brother overcomes his previous prejudices and realizes he must help his sibling face the end with love. The song and its story are potent enough, but an extended guitar instrumental by Smith, long, ringing tones, made it breathtaking. The crowd of about 150 fans responded with a standing ovation at the tune's finish.

The night's homestretch had still more nuggets, from a rowdy "Leavin' Louisiana" to a subtly entrancing "'Til I Can Gain Control Again." The encore segment opened with another tune from the new album, "Famous Last Words of A Fool In Love,' full of Crowell's trademark empathy and humor, and in last night's rendition, also a fingerpicked delicacy. The joyous rock of "Stars on the Water" led into a mass singalong of an old Crowell pal's signature tune. Crowell and his band not only played a stellar "Pancho and Lefty" from the late Townes Van Zandt, they got the whole audience singing that unforgettable chorus.

Earlier Shannon McNally's 45-minute solo opening set was a reminder of how versatile that songwriter is herself. A Long Island native now living in Mississippi, McNally's "Never Mind the Heat" was a good-natured look at her new environs and the folks in it. She explained that after writing "Sinful Daughter" with Dave Alvin several years ago, she'd kind of shelved the song, until one night in Vermont, she heard a singer opening for her perform it. As McNally noted, it's a good song and her version is well worth hearing, an almost eerie folk-country/blues song with multiple layers of meaning.